The Motive of Death in the Austrian Novel of the Late 1920s and Early 1930s

Seibel, N. E.; Shastina, Elena Mikhailovna; Volokitina, N; Ziganshina, N

doi:10.21659/rupkatha.v9n2.17

Cited by 2 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…If in the mind of Werfel's protagonist, the Dragon is associated with the overall attitude to the time, the dominant sense of fear, uncertainty, the ambiguity of the future, in each specific character, encountered by is Ferdinand R. on his formation path, it is refracted with individual features and elements. The total imagery of the novel, in which the motive of death relates to the water element, and life -to air and fire (read more about this in the article: Seibel, Shastina, Volokitina, Ziganshina, 2017), is realised in the image of the Dragon and in the comparison of different groups and types of characters or birds (air element, life) or snakes and insects (water element, death).…”

Section: Heterogeneous Image Index Symbolmentioning

confidence: 99%

Iconic Character of Bestiary Images in the Novels of F. Werfel and E. Canetti

Seibel¹,

Kazakova

Shastina

et al. 2020

SACI

View full text Add to dashboard Cite

The anthropomorphic depiction of animals bearing allegorical meanings is the well-represented and actively demanded bestiary of world literature. It reflects the mythological thinking of writers and is an integral part of the worldview basis on which literary works are based. Bestiary images in the artistic text acquire the status of universal representative symbols. This study discusses bestiary images in novelistic works of Austrian writers, Franz Werfel (1890-1945) and Elias Canetti (1905-1994). Using the semiotic approach, the researchers define a range of images and meanings that are related to these two writers as representatives of the era of historical upheavals and individual authorial purposes that reflect the basis of the worldview of each of them. A bestiary image in a literary text can function as an iconic sign, which, on the one hand, reflects the material object in its materiality, and on the other hand, contributes to the emerging of "new", constructed by analogy, aesthetic reality. The similarity to the referent, in this case, is included in the overall system of ontological values. An iconic sign, after Ch.S. Pierce, refers to a simple sign based on the similarity to a thing and participating in the creation of symptoms of a higher order – symbols. Bestiary images in a literary text acquire the status of universal representative characters. The functioning of animal images in the text, their nomination, combinatorics, communication with the elements, time periods, and behavioural patterns are the way of the study of the philosophical foundations of the author's world picture. Canetti’s bestiary is represented by metaphorical images of a monkey, a cat, a pig, and a tortoise, which are used as a tool for analysing various psychic and psychological states of the characters of the novel "Blinding" (Die Blendung, 1931-1932). Multiple forms of anthropopathy and zoomorphism are based on the writer's attitude towards the initial "equality" of man and animal. The study of zoopoetics (the term of J. Lacan) of Werfel’s novel "Barbara, or Piety" (Barbara oder die Frömigkeit, 1929) helps to reveal the axiological foundation upon which the writer constructs his novels. The functioning of images of animals, a horse, for example, is related to the semantics of sacrifice that is rethought and acquiring new meanings in a new historical context. Composite images connecting different characteristics and associated with various natural elements are important. It is apparent that the study of the works by Werfel and Canetti, given the iconic nature of bestiary images, seems relevant to detect common patterns of development of European literature and culture of the first third of the 20th Century.

show abstract

Section: Heterogeneous Image Index Symbolmentioning

confidence: 99%

Iconic Character of Bestiary Images in the Novels of F. Werfel and E. Canetti

Seibel¹,

Kazakova

Shastina

et al. 2020

SACI

View full text Add to dashboard Cite

show abstract

“…Если в сознании заглавного героя Верфеля Дракон ассоциирован с общим отношением ко времени, с доминирующим чувством страха, неуверенности, неясности будущего, то в каждом конкретном персонаже, встречающемся на пути становления Фердинанда Р., он преломляется отдельными чертами и стихиями. Общая образность романа, в которой мотив смерти соотносится с водной стихией, а жизнис воздухом и огнем [13], реализуется в образе Дракона и в уподоблении разных групп и типов персонажей либо птицам (воздушная стихия, жизнь), либо змеям и насекомым (водная стихия, смерть).…”

Section: формы функционирования бестиарных образов в романах ф верфеля «барбара или благочестие» и э канетти «ослепление»unclassified

Forms of Bestiary Images Functioning in F. Werfel’s “The Pure in Heart” and E. Canetti’s “Auto-Da-Fé”

Сейбель¹,

Shastina²

2018

Philology. Theory & Practice

View full text Add to dashboard Cite

Элиаса Канетти они тесно связаны с религиозными исканиями авторов, обратившихся в начале 1930-х годов не только к христианству, но и к восточной религиозно-философской традиции. Исследуются механизмы "переведения" реалистического образа животного в субъективно-психологический и символико-аллегорический план.

show abstract

The Motive of Death in the Austrian Novel of the Late 1920s and Early 1930s

Cited by 2 publications

References 0 publications

Iconic Character of Bestiary Images in the Novels of F. Werfel and E. Canetti

Iconic Character of Bestiary Images in the Novels of F. Werfel and E. Canetti

Forms of Bestiary Images Functioning in F. Werfel’s “The Pure in Heart” and E. Canetti’s “Auto-Da-Fé”

Contact Info

Product

Resources

About